egroj world: junio 2016


jueves, 30 de junio de 2016

Najponk, Pivec & Hutchinson • It's About Time

Najponk: Fender Rhodes Piano
Odrej Pivec: Hammond B3 Organ
Gregory Hutchinson: Drums

Lou Mecca, Bill de Arango & Chuck Wayne • 3 Swinging Guitar Sessions

Originally issued on three 10-inch LPs, these albums feature three outstanding but underrated jazz guitarists: Lou Mecca, Bill de Arango and Chuck Wayne.

Crisp, inventive and fleet-fingered, Mecca found his own voice from his main inspiration, Tal Farlow, whom he replaced in the Gil Mellé Quartet. Lous classical guitar sound is complemented in this 1954 Blue Note recording by fine vibist Jack Hitchcock, bassist Vinnie Burke and drummer Jimmy Campbell.

De Arango, among the first of the modern jazz guitarists in 52nd Streets heyday, hadnt recorded for a while when he made his album for EmArcy in 1954. His full sound, great swing and consistently imaginative power were in the Charlie Christian tradition, but, as this date proves, he was also very individual. Here, he is backed excellently by pianist Johnny Williams, bassist Teddy Kotick and drummer Art Mardigan.

Masterful as a soloist and rhythm player, Chuck Wayne conclusively proved his worth as a standout member of Woody Hermans First Herd, and in his contribution to the success of George Shearings Quintet. On this excellent 1953 Progressive album with Brew Moore and Zoot Sims he shines with both, achieving a relaxed unity with each. For all who dig guitar, this is a well seasoned group of performances by three articulate and compelling guitarists.


"Once upon a time, the most exciting sounds in jazz and popular music was when the jazz artists stopped screaming at the audience and whispered sweet and intricate melodies to their fans. Here's a recent reissue from Fresh Sound Records to show how to make people listen harder by playing softer.

Before long playing lps, there were things called 10 inch records (the theme made famous by Bull Moose Jackson) which featured a handful of songs by artists. Here, weve got 3 such beauties by cool toned guitarists that seem to be overlooked these years.

Lou Mecca is caught here in a 1955 session with Jack Hitchcock/vib, Vinnie Burke/b and Jimmy Campbell/dr on a lithely swinging session that includes subtle but fervent reads of All the Things You Are and You Go to My Head. Meccas got a clean sound, and it works in great contrast to Hitchcocks chiming work on Just One of Those Things. Bill De Arango was deeply influenced by Charlie Christian, and swings up a storm with Johnny Williams/p, Teddy Kotick/b and Art Mardigan on a 54 studio recording with swift and succinct takes of All Gods Children Got Rhythm and lyrical delights on These Foolish Things and Alone Together. Chuck Wayne made his name with Tony Bennett, and here teams up with tenor saxists Brew Moore or Zoot Sims along with Harvey Leonard/p, George Duvivier/b and Ed Shaughnessey/dr for some easy toe tappers like You Brought a New Kind of Love to Me and Butterfingers.

These three gents emphasized understatement and class, which is a missing ingredient in this day of button turners and pedal pushers imitating guitarists."

George W. Harris (November 2, 2015)


"Theres no fat on that title, and it takes in the Tal Farlow-inspired Mecca, the Charlie Christian-inspired De Arango, and Wayne, who contributed both to Hermans First Herd and George Shearings quintet.

Meccas at his most individual on Bernies Tune, while Hitchcocks stylistic distinction is as personal as Lem Winchesters, as per Just One Of Those Things where the two men prove as adept at mood as they are at instrumental colour. De Arangos at his most poetic on The Nearness Of You, although its certainly more generally true that he has a happy knack for making something of even the most overdone material, as per These Foolish Things, where despite his tendency to be ahead of the beat he still manages to extract poignant gold.

The Wayne titles are the most memorable, thanks in no small part to the presence of Brew Moore or Zoot Sims. The deceptive ease of Wayne and Moores unity on You Brought A New Kind Of Love To Me is enough to lift the spirits of all but the most moribund, while Im starting to think there was no musical company that Sims wasnt happy in, such is his calm authority on Prospecting."

Nic Jones -Jazz Journal (September, 2015)

miércoles, 29 de junio de 2016

Al Gafa • Leblon Beach

The Link Quartet • Evolution

Album Notes
Link Quartet have been gaining quite a following their 2 mind-blowing funk-tastic albums (Beat.It, 2002 / Italian Playboys, 2004) for Hammondbeat, but many are unaware of their earlier years of recording in Europe. "Evolution" documents everything released from 1997 to 2001 - all of which is out-of-print and in constant demand from fans around the world.

Hammondbeat is ecstatic to collect all of this rare material not only for collectors and fans, but to allow the music to tell the story of those early days of a band finding its voice that would eventually fuse into the confection they are today.

"Evolution" is presented chronologically from the very first 45 "Alfa Romeo Giulietta" to their debut mini-album "Episode 1", with rare compilation appearances (France, Spain, Italy, UK) and 2 never-before-released tracks making this the definitive "early days" compendium. “Evolution” puts the entire Link Quartet catalog under the Hammondbeat umbrella, a label that is nothing if not dedicated!

Part one features 2 rare 45’s (Alfa Romeo Giulietta and Sgnapp) from the Animal label in Spain, 2 songs from the popular Mondo Beat compilation series, and 2 unreleased tracks from the vaults: James Brown’s “Ain’t It Funky Now?” and mod fave “Holiday In Monte Carlo”.

Claude Monet • Nina Kalitina, pdf

Claude Monet / Nina Kalitina
2011 | Inglés | 200 pages | pdf | 58 MB

Grant Green • Nigeria (LP)

Sonny Clark, Art Blakey, Sam Jones, Grant Green.

Lou McGarity Quintet • Music From Some Like It Hot

Artist Biography by Scott Yanow
A very talented trombone soloist influenced by Jack Teagarden but possessing his own brassier sound, Lou McGarity was a strong asset to many bands and jam sessions. He started out playing violin when he was seven, not switching to trombone until he was 17. McGarity studied at the University of Georgia from 1934-36, gigged locally in the South (including with Kirk DeVore and Nye Mayhew), and toured with Ben Bernie from 1938-40 before hitting the big time with Benny Goodman from 1940-42. McGarity not only played with Benny Goodman's big band but with his smaller groups -- the first trombonist to do so. McGarity, who through the years often teamed up with his friend and fellow trombonist Cutty Cutshall (including with Goodman), worked with Raymond Scott's Orchestra at CBS from 1942-44, spent time in the military and then rejoined Benny Goodman for a time in 1946. Starting in 1947, he worked as a busy studio musician in New York, often appearing nightly with Dixieland-oriented musicians, including the Lawson/Haggart band, and with the many groups of Eddie Condon. He worked with Bob Crosby in the mid-'60s and was a key member of the World's Greatest Jazz Band from 1968-70 before bad health shortened his life. McGarity recorded as a leader for MGM (four selections in 1955), Jubilee in 1959, Argo in 1959 and Fat Cat's Jazz in 1970.

Gene Ludwig • Soul Serenade

Review by Dave Nathan
Gene Ludwig comes from the romantic school of Hammond B3 organ players and, with more than 40 years at the job, he is part of the organ tradition. His playing is relaxed, laid-back, drenched with a mix of blues and soul. He understands that the organ quartet can be one of the most pleasurable listening experiences in jazz. With an extremely large range of tone colors and timbres, the organ quartet can musically express the full range of human emotions, from romantic and sultry, to highly charged beat excitement, to soul-drenched melancholy. This potential is fully realized by Ludwig and his quartet on the appropriately titled Soul Serenade. With J. Willis and Don Aliquo Jr. sharing tenor sax duties, Ken Karsh kicking with well-placed guitar licks, and Tom Wendt on drums, this album falls foursquare into the organ combo arena led by more well-known -- but not more able -- B3 artists Jimmy McGriff, Jack McDuff, and Jimmy Smith. The play list was obviously constructed to bring out the best this group can offer. On "You Don't Know What Love Is," buttressed by the heartrending tenor sax of Aliquo, the quartet pulls out every ounce of feeling from this tune. In contrast, matters get moving at a swinging pace on "Freddie the Freeloader." Karsh's guitar gets full opportunity to explore the extemporizing possibilities of this Miles Davis classic. The title tune "Soul Serenade" is the organ counterpart of Gloria Lynne's ardent vocal version of 1965, making it a highlight of the album. Willis' slightly honking sax gives this cut an authentic R&B flavor. Tadd Dameron's "On a Misty Night" is the vehicle for Aliquo to brandish his dexterity at running through chord changes. "Duff's Blues" is pure swing, with Tom Wendt's drums getting plenty of attention. Some of the younger Hammond B3 organ practitioners on today's scene would do well to listen to this album to hear how the instrument can sound with its edges rounded a bit. Highly recommended.

martes, 28 de junio de 2016

Dave Specter • Speculatin'

Guitarist Dave Specter has always straddled the blues / jazz fence with a hip disregard for arbitrary restrictions. On Speculatin', his sixth Delmark CD, Dave has put his distinctive mark on a collection of outstanding instrumental tunes from all corners of these related genres, tossing in a latin beat and some greasy organ in addition to his unmistakable West Side and Texas-inspired blues licks. The result will please all lovers of lean, inspired guitar work and will astound the blues buyer who previously considered instrumentals to be mere CD filler. Speculatin' features nine original compositions and covers of tunes by Charles Earland, The Meters, Dizzy Gillespie and Junior Walker. Dave is accompanied by his working band of Rob Waters, Hammond B3 organ; Harlan Terson, bass; Mike Schlick, drums; and Rich Parenti, tenor sax.

"His funky lines echo the jazz masters, but his grinding single-note work is greasy enough for any Windy City after-hours club." -Guitar Player

"This is easily the best-recorded showcase yet for Specter's classy guitar stylings." - Living Blues

"Quintessentially hip and swinging." - Chicago Tribune

"Specter is indeed 'all that'." - Blues Access

lunes, 27 de junio de 2016

Dutch Swing College Band • Update

Reuben Wilson • The Sweet Life

After a series of sugary soul-jazz dates for Blue Note, Reuben Wilson resurfaced on Groove Merchant with The Sweet Life. The title notwithstanding, the session is his darkest and hardest-edged to date, complete with a physicality missing from previous efforts. Credit tenor saxophonist Ramon Morris, trumpeter Bill Hardman, guitarist Lloyd Davis, bassist Mickey Bass, and drummer Thomas Derrick, whose skin-tight grooves sand away the polished contours of Wilson's organ solos to reveal their diamond-sharp corners. The material, while predictable (i.e., standbys like "Inner City Blues" and "Never Can Say Goodbye"), is nevertheless well suited to the set's righteous funk sound. ~ Jason Ankeny Personnel: Reuben Wilson (organ); Lloyd Davis (guitar); Bill Hardman (trumpet). Recording information: 1972.

Ron Levy's Wild Kingdom • Jazz A Licious Grooves

Legendary producer/keyboardist Ron Levy again serves up a collection of fat jams featuring special guests! Guests include Freddie Hubbard, Idris Muhammad, Melvin Sparks, Ralph Dorsey, Gray Sargent, Stanley Banks, and more.

Atsuko Hashimoto Organ Trio • Time After Time

Atsuko Hashimoto, is a jazz musician from Osaka, Japan who plays Hammond B-3 electronic organ and has performed in Japan and the United States. To date, she has recorded five albums of organ trio and organ quartet jazz.

Hashimoto first played the organ at the age of four, beginning with popular songs and jazz standards. Before choosing to specialize in jazz she trained in classical music for several years. At 18, she began working for Hammond Japan demonstrating organs and giving lessons as a Hammond-certified instructor.

In 1991, Hashimoto became the house organ player at the Don Shop in Osaka. The next year, she fronted her own organ quartet at the Osaka Jazz Festival and Naniwa Arts Festival. These appearances led to collaborations with Makoto Ozone and Terumasa Hino.

In 1999, Hashimoto debuted in the US, playing at clubs in New Orleans as well as Jazz at Pearl's in San Francisco, where she performed with Bruce Forman on guitar and Vince Lateano on drums. In 2000, she toured Japan with "Brother" Jack McDuff and his band, and in September that year shared the bill with Dr. Lonnie Smith at Blue Note Osaka. 2001 saw Atsuko return to California, playing at the San Jose Jazz Festival, The Baked Potato in Studio City and the Kuumbwa Jazz Center in Santa Cruz. She played at the 2001 Jazz Organ Summit with Yutaka Hashimoto and Fukushi Tainaka.

In 2002, while he was touring Japan with Diana Krall, Jeff Hamilton first heard from other musicians about the electrifying Atsuko Hashimoto "holding court" at the Don Shop, enthralling audiences while playing jazz after hours. Following his set in Osaka, Hamilton went to hear her play and after a few songs, he asked and was invited to sit in with her on stage for a 'jam'. Hamilton has said the experience resolved in him a desire to tour and record with Hashimoto. Hashimoto and Hamilton have recorded two CDs together, touring to support the recordings.

In 2003, at the 40th Naniwa Arts Festival in Osaka, Atsuko received the Shoji Nakayama Jazz Award, the Progressive Musician's Prize, and awards from both the governor of Osaka Prefecture and the mayor of the city of Osaka.

September 2006, was a very busy month for the artist. September 5, Atsuko and Yutaka Hashimoto recorded at Capitol Studios in Los Angeles accompanied by Jeff Hamilton. Houston Person swapped in for Yutaka Hashimoto on a second collection of songs. The extended recording session resulted in both the Thousand Days Records album Time After Time, released March 5, 2008 and the Azica Records album Introducing Atsuko Hashimoto, released February 12, 2008. The next day, on September 6, Atsuko Hashimoto, Jeff Hamilton and Houston Person performed at San Diego Museum of Art where they received a standing ovation. On September 8, Hashimoto appeared at the White Noise Music Festival in Sacramento. On September 10, 2006 at the Jazzschool in Berkeley, Atsuko and Yutaka Hashimoto were joined by Juasa Kanoh on drums. Late in September, Atsuko and Yutaka Hashimoto were invited to the 12th West Coast Jazz Party in Irvine, California. There Mrs. Hashimoto played two sets with Jeff Hamilton on drums: one with Yutaka Hashimoto and Ron Eschete trading licks on guitar and one with Houston Person on tenor saxophone—the latter group billed as "Organ Magic Trio." They also played at the LAX Crowne Plaza Hotel's Brasserie Lounge in Los Angeles and Steamers Jazz Club in Fullerton.

At the 50th Monterey Jazz Festival in September 2007, Atsuko Hashimoto took part in the "Hammond B-3 Blowout" featuring the Joey DeFrancesco Trio and the Atsuko Hashimoto Trio. Her trio included Houston Person and Jeff Hamilton; the two trios were said to "blow out the Night Club." Prior to the Monterey date, Hashimoto appeared at Centrum (also known as Port Townsend Jazz Festival), Steamers Jazz Club, the Brasserie Lounge and the Pasadena Jazz Institute where Ron Eschete covered guitar.

At the 8th Newport Beach Jazz Party (a sister event to the West Coast Jazz Party) on February 17, 2008 Atsuko Hashimoto, Jeff Hamilton and Houston Person played a set billed as "International Power Trio". The next day, the Atsuko Hashimoto Organ Trio played Pasadena Jazz Institute, featuring Yutaka Hashimoto on guitar and Jeff Hamilton on drums. On February 22, 2008 Atsuko Hashimoto and Jeff Hamilton joined tenor saxophonist Red Holloway at the Lionel Hampton Jazz Festival at the University of Idaho.

Atsuko Hashimoto plays primarily jazz standards, augmenting them with solos. YS organ-ize Records, her first label, has described her playing as "pre-Jimmy Smith era, some Wild Bill Davis, some Milt Buckner, some Jackie Davis". Mrs. Hashimoto plays Hammond B-3 through one or two Leslie speakers. She often wears gloves or tapes her fingers before playing in order to enable smooth, fast glissandi without injury.

Johnny 'Hammond' Smith • Breakout

Harold Baker Quartet ‎• The Broadway Beat

Harold "Shorty" Baker (May 26, 1914 in St. Louis, Missouri, USA – November 8, 1966 in New York City) was a jazz trumpeter.
Harold "Shorty" Baker had a mellow sound and a lyrical style that was the modern successor to Arthur Whetsol in the Duke Ellington Orchestra. Originally a drummer, Baker switched to trumpet as a teenager. A fine section player and a warm soloist, Baker played with Fate Marable on riverboats, Erskine Tate, Don Redman (1936-1938), Teddy Wilson's orchestra (1939-1940), and Andy Kirk (1940-1942). He married Mary Lou Williams (Kirk's pianist at the time). Baker was with Duke Ellington's Orchestra off and on during 1942-1962 (particularly 1943-1951 and 1957-1959), during which he was well-featured despite being in a trumpet section that at times also included Ray Nance, Clark Terry, Taft Jordan, Willie Cook, and Cat Anderson, among others. He was with Johnny Hodges' group in the early '50s, and after the Ellington years primarily led a quartet. Baker also recorded in later years with Bud Freeman and Doc Cheatham.

Helmut Thiede y Su Conjunto. Vol. 2 [EP]

La única información disponible es la de la contraportada.


The only information available is the back cover.

viernes, 24 de junio de 2016

Pat Martino • Cream

Review by Matt Collar
The 32 Jazz compilation Cream collects tracks from some of guitarist Pat Martino's best albums, including Consciousness and his post-brain aneurysm 1987 comeback Return. Although 32 Jazz also reissued most of the albums these cuts come from, having them in one place makes for a nice introduction to Martino's distinctive ambient "machine gun"-like improvisational style.

jueves, 23 de junio de 2016

VA • Pioneers Of The Electric Guitar

Kenny Burrell, Dick Dale, B. King, Link Wray, Charlie Christian, Tal Farlow , Chuck Berry,  Django Reinhardt, Chet Atkins, Howlin' Wolf, Jimmy Raney, Wes Montgomery, Chuck Berry, Magic Sam, Elmore James, Herb Ellis, Mickey Baker, John Lee Hooker, Barney Kessel, Les Paul, Albert King, Lightnin' Slim, The Ventures,  Bo Diddley, Lowell Fulsom , Grant Green ...

VA • Trombone Scene

Urbie Green, Frank Rehak, Jimmy Cleveland, Jimmy Knepper - trombone
Sonny Russo, Tommy Mitchell, Willie Dennis - trombone
Elliot Lawrence - piano, arranger, conductor
Burgher Jones - bass
Sol Gubin - drums

Booker T. & The MG's • Stax Profiles

Banda instrumental de música soul, muy popular entre los años 1960 y 1970.
Son comúnmente asociados con la compañía discográfica Stax Records y considerados parte del subgénero denominado Memphis soul. Fue uno de los primeros grupos de la música popular en estar conformados por diferentes razas. La banda es mejor conocida por su éxito musical de 1962, la pieza de rock instrumental «Green Onions».

Booker T. & the M.G.'s is an instrumental R&B/funk band that was influential in shaping the sound of Southern soul and Memphis soul. Original members of the group were Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson, Jr. (drums). In the 1960s, as members of the house band of Stax Records, they played on hundreds of recordings by artists such as Wilson Pickett, Otis Redding, Bill Withers, Sam & Dave, Carla and Rufus Thomas and Johnnie Taylor. They also released instrumental records under their own name, such as the 1962 hit single "Green Onions".

Gabor Szabo • High Contrast

High Contrast is an album by Hungarian jazz guitarist Gábor Szabó. Produced by Tommy LiPuma and recorded by Bruce Botnick at Capitol Studios, Hollywood in December 1970 (tracks 1,4,7) & at The Record Plant, Hollywood in February 1971 (tracks 2,3,6) with a lot of contribution from songwriter and guitarist Bobby Womack, this album would feature the original version of Breezin' that George Benson would have a major hit with in 1976 (also produced by LiPuma). The composition "If You Don't Want My Love" would be used by Bobby Womack in the film and soundtrack to Across 110th Street.

martes, 21 de junio de 2016

Mongo Santamaria • La Bamba

One good hit deserves a remake, so Columbia had Mongo Santamaria redo his breakthrough record "Watermelon Man" on his second LP for the label. Indeed, it is this brighter, better-recorded version that we generally hear on the radio nowadays instead of the Battle original. Even better, though, are "Fatback" and the wildly swinging workout on "La Bamba" that kicks off the album, to which you can imagine the foxy blonde model on the cover dancing the boogaloo. Marty Sheller’s charging arrangements and trumpet are in the driver’s seat of this sports car with the Mongo engine, and Hubert Laws has a ball in his flute and tenor sax solos. Few records embodied the go-go spirit of the ’60s as well as this Latin jazz album. — Richard S. Ginell

The Surf Raiders • Raiders Of The Lost Surf

Surf Revival band from Azusa, California formed in 1980.

Jimmy McGriff • A Thing To Come By

Tom Conway • Hot Gypsy Nights

Tom Conway is the guitarist in the gypsy jazz group 'Gypsy Pacific' which is based in Maui, Hawaii and this is his first release under his own name. This record is a collection of some of Tom's favorite tunes in the gypsy jazz style and features compositions by Django Reinhardt, Titi Winterstein, Romane and others.

sábado, 18 de junio de 2016

Bobby Timmons Trio • Born To Be Blue!

Throughout his career, Bobby Timmons was typecast as a soulful and blues-oriented pianist due to his hits ("Moanin '," "This Here" and "Dis Dat"). But as he shows on this 1963 trio date (with either Sam Jones or Ron Carter on bass and drummer Connie Kay), Timmons was actually a well-rounded player when inspired. The repertoire on his CD ranges from bop to spirituals, from three diverse originals to "Born to Be Blue." This is excellent music but unfortunately Timmons would not grow much musically after this period. His CD is worth picking up. ~ Scott Yanow, AMG

Bobby Timmons seems to be one of those jazz pianists that people seem to miss checking out. I have heard listened to him for years, but have only recently bought any of his recordings as a leader. "Born To Be Blue" is yet another release that has flown under the radar, but not checked out by jazz fans for whatever reason. Timmons is joined either by Ron Carter or Sam Jones on bass and Connie Kay on drums. This is cookin' little album worth owning. I think this album cover is one of the coolest I've ever seen too! How could you not love Bobby Timmons? Great jazz piano trio. Highly recommended. ~ J. Rich

The Jet Black's • Remember Shadows & The Ventures

Frank Wess • North, South, East... Wess and No Count

Bobby Hutcherson • The Kicker

Bobby Hutcherson recorded frequently for Blue Note in the 1960s, though this session remained unissued until 1999. The first half features the vibraphonist in a cooking hard bop session with Joe Henderson and Duke Pearson, starting with an energetic take on the normally slow ballad "If Ever I Would Leave You" and a sizzling Hutcherson original, "For Duke P." Guitarist Grant Green is added for the second half, beginning with the first recording of Henderson's "The Kicker," which became well known from it's later rendition on Horace Silver's highly successful release Song for My Father. Because this is part of Blue Note's limited-edition Jazz Connoisseur series, don't delay in picking it up. ~ Ken Dryden, AMG

It's interesting to note that in the liner notes to Grant Green's The Matador, described this session as "somewhat disappointing." Now, Cuscuna has mostly just praise for The Kicker, though he does point out similar to the amazon review that this was a much more straightforward Hutcherson than most of the public was used to.

I'm rather surprised as Hutcherson did play on some avante garde sessions with Eric Dolphy, Andrew Hill, Jackie McLean, and Archie Shepp, but for every avante garde session, there was another like Grant Green's Idle Moments, or his Streets of Dreams ( with Larry Young and Elvin Jones ). And, Hutcherson recorded several straight ahead sessions himself like 1966 session called Stick-Up! with Billy Higgins. That one is beautiful, straight ahead jazz. And albums like Patterns ( with James Spaulding and Joe Chambers ) are relatively straightforward.

Anyways, The Kicker. The album is great. The same lineup as Grant Green's Idle Moments ( with Green appearing on only 3/6 tracks ), The Kicker perhaps lacks the intamacy of Idle Moments, but shines much brighter. There are obviously easy comparisons to both. They were recorded with the same personel, a month apart. Songs contributions come from Joe Chambers ( who's not on the session ), Duke Pearson ( who is ), Joe Henderson ( two here ), and Bobby H ( 1 ), plus a standard to finish it off.

The standard is If Ever I would Leave You, and it's quite pretty. But it's the second song, Mirrors, by Joe Chambers that really caught my eye. It's slow and sensuous, and kind of has that Joe Chambers style to it. It's interesting to hear it though with Al Harewood on drums. For Duke P. is for Duke Pearson ( though was only named by Hutcherson for this release in 1999 ), is great... medium to up tempo and has some ultra-cool vibes playing. The last three songs each have Green on them which changes the scene a bit. Joe Henderson's, The Kicker has been recorded by just about everone, and is given a good, standard treatment here. Step Lightly is something pretty like what we would have found on Idle Moments. Bedouin was already familiar to bass player, Bob Cranshaw, and Grant Green as they played it on Green's The Matador. It's interesting to hear both versions. Above all, The Kicker is great Bobby H. Like I said, it may not be as great as Idle Moments... though what is? There is some great playing by everyone here. Joe Henderson was really coming to his own, and his tenor sax playing is unique and perfect for this setting. Bobby Hutcherson is always good, whether straight ahead or avante garde. Green rules. And Duke Pearson, Al Harewood, and Bob Cranshaw make for a kickin' rhythm section. I love Pearson in particular and find his piano playing to be quite subtle and fun to listen to in the mix. Focusing on his playing is great. So get the album. It's a good one. Especially for one that took 35 years to release! ~ Frank Bock

Tiny Grimes • Big Time Guitar

Lloyd "Tiny" Grimes (July 7, 1916 – March 4, 1989)[1] was an American jazz and R&B guitarist. He was a member of the Art Tatum Trio from 1943 to 1944, was a backing musician on recording sessions, and later led his own bands, including a recording session with Charlie Parker. He is notable for playing the tenor guitar, a four-stringed electric instrument.
Bio ...

Portrais By Ingres • The Metropolitan Museum Of Art New York / English language [pdf inglés]

Jean-Auguste-Dominique Ingres
Jean-Auguste-Dominique Ingres, más conocido como Dominique Ingres, (Montauban, 29 de agosto de 1780 – París; 14 de enero de 1867), fue un pintor francés.
Ingres no es, en sentido estricto, neoclásico ni académico, sino un ferviente defensor del dibujo. Resulta a la vez clásico, romántico y realista. Ingres constituye un claro exponente del romanticismo en cuanto a los temas, el trazo abstracto y las tintas planas de intenso colorido. Algunas de sus obras se enmarcan en el llamado «Estilo trovador», inspirándose en el ideal estético griego y gótico, además de en las miniaturas de los libros de horas de Fouquet. Igualmente, es ejemplo de orientalismo, pues muchos de sus cuadros, especialmente desnudos femeninos, están dominados por un sentido irreal del exotismo propio del siglo XVIII. Bio completa en wiki

También es interesante Bio en Artehistoria.


Jean-Auguste-Dominique Ingres (French: [ʒɑnoɡyst dominik ɛ̃ɡʁ]; 29 August 1780 – 14 January 1867) was a French Neoclassical painter. Although he considered himself to be a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy.
A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis, Eugène Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator."[1] Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time,[2] while his expressive distortions of form and space make him an important precursor of modern art.
Complete Bio

Formato: pdf / 610 págs. / 47MB / Idioma: Inglés

Johnny Frigo & His Quintet • I Love John Frigo...He Swings

Review by Steve Leggett
Johnny Frigo spent most of his professional life as a jazz bassist, but in the mid-'80s he picked up his first instrument, the violin, and started what amounted to a second jazz career on that instrument. Frigo biographies frequently refer to an obscure album release from the 1950s that prefigured this change, and this is it, a session Frigo recorded in 1957 at Universal Recording Studios in Chicago for Mercury Records. Joined by guitarist Herb Ellis (Frigo and Ellis had previously worked together in the Soft Winds Trio with pianist Lou Carter), Norm Jeffries on drums, Dick Marx on piano, Cy Touff on trumpet, and the great Ray Brown on bass, Frigo delivers a wonderful swing/bop mixture that stands seamlessly with his 1980s releases. At times he uses the violin like a horn, punching in and blocking out solid runs, and at other times, like on the beautiful "Blue Orchids," he uses the instrument to approximate a tenor vocalist, stretching the melody into marvelous shapes. Frigo even does a call-and-response duet with himself on the self-penned "Big Me -- Little Me," answering the violin lines with his own bass runs. I Love John Frigo...He Swings somehow got lost in the shuffle when it was released, and Frigo went back to bass playing for 30 years before getting a late second chance at recording this kind of small-group sides on violin once more. The original master tapes of this session apparently suffered some degradation, and the recordings red-line occasionally in the digital transfer, but it's nothing too serious. Mercury/Verve should be commended for bringing this delightful album back to life.

Amos Milburn • Blues & Rhythm Series Classics [1950-1951]

jueves, 16 de junio de 2016

VA • Zydeco Blues, Vol. 1 / Vol. 2

The Kraig Greff Group • Hammond' Eggs

Take four accomplished career musicians dedicated to creating and performing great music, who love playing together. Add the inspirational Hammond B3. The result is the Kraig Greff Group, performing a dynamic mix of contemporary jazz, blues and R&B influenced by Gospel and Brazilian grooves. Kraig Greff is an accomplished keyboardist who has toured with the likes of Barry White and Dianna Ross and performed as a guest artist with the Baltimore Symphony. His music is emotional and awe-inspiring, with a twist of wacky humor. Doug Rich is a grooving, melodic bass player who graduated from Berklee and has performed with the likes of Lionel Hamption, Vanessa Bell Armstrong, and Ray Felder. Kraig and Doug worked together extensively in Cincinnati in the 80's and couldn't forget the experience. In 2008, Kraig and Doug decided to record another album together. Doug recruited Stanley Swann, one of Boston' most sought-after drummers who honed his skills touring globally with the Air Force Band. Kraig brought in Kenny Jones, one of his favorite guitar players ever. The Kraig Greff Group was born.

VA • Comin' Home Baby covers

"Comin' Home Baby" is a song originally written as an instrumental by Ben Tucker and first recorded by the Dave Bailey Quintet in 1961. It was then recorded by Herbie Mann, and lyrics were written by Bob Dorough. The vocal version became a US Top 40 hit for American jazz singer Mel Tormé in 1962, and the song has since been covered numerous times.


"Comin 'Home Baby" es una canción escrita originalmente como un instrumental de Ben Tucker y la primera registrada por el de Dave Bailey Quintet en 1961 fue luego registrada por Herbie Mann, y las letras fueron escritas por Bob Dorough. La versión vocal se convirtió en un Top 40 de Estados Unidos en la versión de Mel Tormé en 1962, siendo desde entonces versionada incontables veces tanto instrumental como cantada.

Este es un compilado no comercial, por tanto carece de carátula, info y demás menesteres que hacen al marketing.


This is a non-commercial compiled therefore lacks cover, info and other necessities that make marketing.

Paul Desmond • Glad To Be Unhappy

Review by Richard S. Ginell
Even though Desmond was kidding when he described himself as the world's slowest alto player, this record bears out the kernel of truth within the jest. Here, Desmond set out to make a record of love songs and torch ballads, so the tempos are very slow to medium, the mood is of wistful relaxation, and the spaces between the notes grow longer. At first glance, Desmond may seem only peripherally involved with the music-making, keeping emotion at a cool, intellectual arms' length, yet his exceptionally pure tone and ruminative moods wear very well over the long haul. Again, Jim Hall is his commiserator and partner, and the guitarist gets practically as much space to unwind as the headliner; the solo on "Angel Eyes" is an encyclopedia of magnificent chording and single-string eloquence. Gene Wright returns on bass, spelled by Gene Cherico on "Poor Butterfly," and Connie Kay's brush-dominated drum work is pushed even further into the background. A lovely recording, though not the best album in the Desmond/Hall collaboration.

Jason Henson • Jason Henson Plays Wes And Benson

Jason Henson and his band perform the music of Wes Montgomery and George Benson.
On this 2013 recording you can hear Jason playing the music of Wes Montgomery and George Benson. This fantastic album features Pete Whittaker on organ and Matt Home on drums who help create the classic organ trio sound. Many of the songs also feature Ian Price on tenor saxophone and Dan Sheppard on double bass.

miércoles, 15 de junio de 2016

Bukka White • Memphis Hot Shots

Booker T. Washington White, conocido en el blues como Bukka White (Aberdeen, Misisipi, 12 de noviembre de 1906 - Memphis, Tennessee, 26 de febrero de 1977) fue un pianista, guitarrista y cantante de blues.

Es uno de los primeros grandes creadores del Blues del Delta y, muy joven, coincidió con Charlie Patton, su principal influencia. Fichado por la discográfica Victor. grabó su primer disco en 1930, con un estilo de guitarra muy influido por la música hillbilly y el slack key hawaiano. La reputación que obtuvo le permitió vivir muy holgadamente de la música en lo sucesivo. En 1937 se traslada a Chicago para realizar varias sesiones de grabación, incluido su clásico "Shake'em on down", que fue un gran éxito comercial.

Condenado varios años por una pelea, Alan Lomax lo encontró en la penitenciaria de Parchman Farm y le grabó varios temas autobiográficos. Después, ya libre, regresó a Chicago, tocando con Washboard Sam, grabando en 1940 el que, para la mayoría de los autores, sería su obra maestra. Tras servir al ejército en Europa durante la Segunda Guerra Mundial, White se instaló en Memphis (1944) y abandonó la música en público, trabajando de chatarrero. Años más tarde, su obra se convierte en objeto de culto para las generaciones de la explosión folk, recuperada por Bob Dylan y Buffy Sainte Marie. En los años 1960, unos guitarristas jóvenes investigaron su paradero y consiguieron localizarlo, relanzando su carrera, ya en grandes escenarios, especialmente en el American Folk & Blues Festival, donde tocó con Son House, Sonny Terry, Brownie McGhee y Hound Dog Taylor, entre otros, grabando un buen número de nuevos discos.

Booker T. Washington "Bukka" White (November 12, 1909 – February 26, 1977) was an American Delta blues guitarist and singer. "Bukka" is a phonetic spelling of White's given name, first used by his second (1937) record label (Vocalion).

Born between Aberdeen and Houston, Mississippi, White was a first cousin of B.B. King's mother (White's mother and King's grandmother were sisters). White himself is remembered as a player of National steel guitars. He also played, but was less adept at, the piano.

White started his career playing the fiddle at square dances. He claims to have met Charlie Patton early on, although some doubt has been cast upon this; Regardless, Patton was a large influence on White. White typically played slide guitar, in an open tuning. He was one of the few, along with Skip James, to use a crossnote tuning in E minor, which he may have learned, as James did, from Henry Stuckey.

He first recorded for Victor Records in 1930. His recordings for Victor, like those of many other bluesmen, fluctuated between country blues and gospel numbers. Victor published his photograph in 1930. His gospel songs were done in the style of Blind Willie Johnson, with a female singer accentuating the last phrase of each line.

Nine years later, while serving time for assault, he recorded for folklorist John Lomax. The few songs he recorded around this time became his most well-known: "Shake 'Em On Down," and "Po' Boy."

Bob Dylan covered his song "Fixin' to Die Blues", which aided a "rediscovery" of White in 1963 by guitarist John Fahey and Ed Denson, which propelled him onto the folk revival scene of the 1960s. White had recorded the song simply because his other songs had not particularly impressed the Victor record producer. It was a studio composition of which White had thought little until it re-emerged thirty years later.

White was at one time managed by experienced blues manager Arne Brogger. Fahey and Denson found White easily enough: Fahey wrote a letter to "Bukka White (Old Blues Singer), c/o General Delivery, Aberdeen, Mississippi." Fahey had assumed, given White's song, "Aberdeen, Mississippi", that White still lived there, or nearby. The postcard was forwarded to Memphis, Tennessee, where White worked in a tank factory. Fahey and Denson soon traveled to meet White, and White and Fahey remained friends through the remainder of White's life. He recorded a new album for Denson and Fahey's Takoma Records, whilst Denson became his manager.

White was, later in life, also friends with fellow musician Furry Lewis. The two recorded, mostly in Lewis' Memphis apartment, an album together, Furry Lewis, Bukka White & Friends: Party! At Home.

"Parchman Farm Blues" was about the Mississippi State Penitentiary

One of his most famous songs, "Parchman Farm Blues", about the Mississippi State Penitentiary (also known as Parchman Farm) in Sunflower County, Mississippi, was released on Harry Smith's fourth volume of the Anthology of American Folk Music, Vol. 4. His 1937 version of the oft-recorded song,[7] "Shake 'Em On Down," is considered definitive, and became a hit while White was serving time in Parchman.

White died in February 1977 from cancer, at the age of 67, in Memphis, Tennessee. In 1990 he was posthumously inducted into the Blues Hall of Fame (along with Blind Blake and Lonnie Johnson). On November 21, 2011, The Recording Academy announced that "Fixin' to Die Blues" was to be added to its 2012 list of Grammy Hall of Fame Award recipients.

Dave Baby Cortez • Organ Shindig

Born David Cortez Clowney, 13 August 1938, Detroit, Michigan
Pianist / organist / vocalist / songwriter.
Nowadays, Dave "Baby" Cortez (Clowney) is almost solely remembered for his # 1 record "The Happy Organ" (1959), but he had a long and, at times, successful recording career both before and after this hit. Growing up in Detroit, Dave showed musical aptitude at an early age and was guided toward the piano by his father, who also played the instrument. His musical career took off when he joined the Five Pearls in 1954 as second tenor and pianist, and he moved with them to New York the next year. The group, which became better known as the Pearls, recorded for Aladdin, Atco and Onyx. Clowney then had a short tenure with the group The Valentines, led by Richard Barrett, and recorded two singles with them for Rama. In the autumn of 1956 he recorded two piano instrumentals, "Movin' 'n' Groovin'" and "Soft Lights" (Ember 1010), which were credited to The David Clowney Band and got a good review in Billboard. This was followed by another great unknown R&B instrumental single, "Hoot Owl"/"Shakin'" (Paris 513) in early 1958, with King Curtis on tenor sax, Jimmy Spruill on guitar and Dave himself on pounding piano. A few months later, he cut a Little Richard-styled vocal single, "Honey Baby" and "You Give Me Heebie Jeebies" (Okeh 7102) as Baby Cortez. None of these records registered, good was they were. Meanwhile he did work as a session musician behind such artists as The Chantels, The Isley Brothers, The Aquatones ("She's the One For Me") and Little Anthony and the Imperials.

In 1958, his previous association with Ember Records brought Dave to Clock Records, a brand new label, which was run by veteran English-born EMI record man Wally Moody and his son Doug, and initially distributed by Ember. Now billed as Dave "Baby" Cortez, the young pianist/singer had his first Clock single released in August 1958, "You're the Girl"/"Eenie Meeny Miny Mo", which did nothing at all. But then came "The Happy Organ".

It was a Saturday morning in the fall of 1958 at Allegro Recording Studio in the basement of 1650 Broadway in New York City. Dave was supposed to cut a few vocal numbers, but he lost his voice during the session and said, "Let me try an instrumental". They had a huge Hammond B-3 organ in the corner, and though Dave had never played the organ before, he started doing a tune based on "Shortnin' Bread". The backing musicians (who included Jimmy Spruill on guitar, Buddy Lucas on sax and Panama Francis on drums) started picking up the rhythm. The end of the take was rough, it went on and on and was full of wrong notes, reason why it was faded out on the record after 1:58. The resulting single was called "The Happy Organ", a # 1 pop smash in the spring of 1959 (also # 5 R&B). It did much to popularise the Hammond organ amongst the huge teen market and soon Johnny and the Hurricanes and Bill Black's Combo would score chart hits with organ-led instrumentals.

The follow-up, "The Whistling Organ" was a poor record by comparison and went only to # 61. No further hits on Clock followed, despite strong 45s such as "Piano Shuffle", "Cat Nip" and "Dave's Special". After Clock's distribution deal with Ember ended, RCA Victor stepped in and the album "Dave 'Baby' Cortez And His Happy Organ" came out on RCA in September 1959. Clock later issued the LP on its own label, but not before RCA sold thousands of copies. In 1962, Dave was back in the Top 10 with "Rinky Dink" on Chess (picked up from Julia Records, which was probably Dave's own label), followed by some minor hits on Chess. The mid-sixties saw him recording for the Roulette label and, keeping in tune with the times, Cortez soon moved into funky soul music. In 1973, he had his last chart entry with "Someone Has Taken Your Place" on All Platinum (# 45 R&B). His final single was also released in that year, "Hell Street Junction", which was an imitation of Sly and the Family Stone's "Life". By the 1980s he had turned his back on the music business and was living in Jamaica, New York, with a day-time job. Since then he has always refused to be interviewed about his career as a musician.